The statuary of the _chandi_ Toompang has been removed, for the greater part, to the Museum at Batavia and, possibly, one or two images, with Professor Reinwardt’s invoice of 1820, to that of Leyden. The deities are brilliantly executed, of idealistic design, to borrow Rouffaer’s words, exuberant to the point of effeminacy. Some of them show the conventional Hindu type and we can imagine the wonderful effect they produced among the essentially Javanese scenes chiselled on the walls. For their inscriptions Nagari characters have been used, a circumstance adduced to prove the predominant Buddhist significance of this temple. The principal statue seems to have been the decapitated and otherwise damaged, eight-armed,[97] colossal Amoghapasa, Lord of the World, reproduced by Raffles, including the head, “carried to Malang some years ago by a Dutchman,” he informs us, which, symbolic of unity with Padmapani, displays Amitabha, the Dhyani Buddha of the West, the Buddha of Endless Light, in the manner of a frontal. The goddess Mamakhi, scarcely less beautifully cut and also reproduced by Raffles in his _History of Java_, was carried to England _in tota_ by himself. Efforts to trace her whereabouts have not met with success; she remains more securely hidden, probably in one of the store-rooms of the British Museum, than the stone with inscription recording an endowment, transported from Java to the grounds of Minto House near Hassendean, Scotland. Talking of carrying away: a little to the southeast of the _chandi_ Toompang stood a temple of which hardly a stone has been left; a little to the south of the _chandi_ Singosari another is visibly melting into air. The Chinese community at Malang, as Dr. Brandes informed the Batavian Society of Arts and Sciences, boast of a permanent exhibition of Hindu statuary and ornament, consisting of more than 160 numbers, gathered together in the neighbourhood and on view in their cemetery. Baba collects Sivaïte and Buddhist antiquities with great impartiality, subordinating religious scruples to practical considerations, as when he lights his long-stemmed pipe at one of the votive candles on the altars in his places of worship. Excellent opportunities for the study of Chinese influences on Javanese art are offered by the decoration of his temple in Malang with its motives derived from creeping, fluttering, running, pursuing and fleeing things: tigers, deer, dragons, bats, especially bats, shooting up and down, flitting off, swiftly turning back, circling and scudding. The mural paintings of a good many other _klentengs_, too, are of more than passing interest since they promote a right understanding of the development of the Greater Vehicle of the Law, which in Java exchanged fancies and notions with both Chinese Buddhism and Taoïsm, discarded the classic for the romantic, if the expression be permissible in this connection, and still continues to live among the island’s inhabitants